Our top African music projects list spans the length and breadth of the continent, uncovering the best musical gems that have made their mark.
By Afrocritik’s Music Board
African music, over the last four years, has made significant inroads into global mainstream consciousness, with its artistes going toe-to-toe with their Western counterparts. Although long overdue, global music award shows have begun to recognise African talent with notable inclusions and awards.
Categories such as the Grammys’ ‘Best African Music Performance’, Billboard’s ‘Top Afrobeats Song’ and ‘Top Afrobeats Artiste’, and MTV VMA’s ‘Best Afrobeats Song’ are clear evidence that the world is starting to dance to our rhythm.
In many ways, this recorded success is reflected in the music African artistes have been releasing, whether through singles, extended plays, live sessions, or full-length studio albums.
Notably, the first half of 2024 was tumultuous for the West African music scene (widely regarded as Africa’s music frontrunner), with fewer quality album releases and a concerning lack of breakout stars, while other regions flourished. Even the biggest single of H1 2024, “Tshwala Bam”, was a powerful entry from South Africa’s TitoM and Yuppe.
However, the second half of the year has seen an abundance of quality releases from the region and beyond, making it challenging to adhere to our usual tradition of curating 25 albums across the continent.
This year, in our effort to highlight more exceptional projects, we’ve expanded our final selection to 50, including EPs, soundtrack albums, and instrumental projects.
To uphold the highest standards in curating our top African projects list, Afrocritik has introduced a range of metrics to guide our rankings. Our criteria prioritise sonic brilliance, creativity, sonic and thematic statement, production and sound engineering, cultural relevance, and songwriting.
These metrics, we believe, ensure that independent or relatively unknown acts—who may lack substantial resources but excel in innovation and creativity—have an equal opportunity to gain recognition alongside well-established names on the continent. As a brand, we remain committed to spotlighting authentic and impactful artistry, which lies at the heart of this list’s expansion.
Our list spans the length and breadth of the continent, uncovering the best musical gems that have made their mark. It encompasses our sounds, from Amapiano, Afrobeat, Afro-Pop, Bongo Flava, R&B, Hip-Hop, Ragga, Alté, Soul, Gospel, Dancehall, Afro-Jazz, to Traditional Folk Music.
50. A Peça – Anna Joyce (Angola)
Kizomba singer and songwriter, Anna Joyce, delivers a stirring, heartfelt performance in A Peça, where she bares her emotions unfiltered, particularly on tracks like “Monólogo” and “Faz Calor”, against sultry piano chords.
She raises the tempo in tunes like “Medo” where she laments about unrequited love and infidelity, and “Safadeza” where she sings about fending off uncontrollable lust towards a love interest, interspersing Portuguese with English lyrics.
Joyce’s use of adept imagery and smooth vocals encapsulates a tour de force in the Angolan/Kizomba scene, leaving listeners yearning for more of such offerings from purveyors of this genre. – MH
49. Jiggy Forever – Young Jonn (Nigeria)
Two years ago, music producer, Young Jonn, made a grand entrance into the music scene with a series of singles and two extended plays.
Now, he follows up with his debut album, Jiggy Forever, a 16-track project with a runtime of over 40 minutes. Recognised as one of the breakout artistes in Afrobeats of the 2020s, Young Jonn has consistently demonstrated why he deserves this title.
On Jiggy Forever, he delves into themes of grief, love, celebration, and more, crafting a body of work that stands as his most personal and reflective project to date. — Emmanuel Daraloye
48. Peace & Love – Juls (Ghana)
British-Ghanaian producer Juls celebrates his 10th year in the music industry with his latest album, Peace & Love.
Curated into two complementary parts, Peace (Side A) features slow-tempo songs, while Love (Side B) offers an uptempo collection. Despite their contrasting tempos, both sections are equally enjoyable when shuffled, staying true to Juls’ signature fusion of genres and collaborative artistry.
The album is a sonic exploration inspired by the diverse soundscapes of the countries Juls has visited and those that have shaped his musical journey. Guest artistes bring their unique styles to bear on the tracks, enriching the project’s global appeal.
While the album is exploratory in nature, Juls’ signature Highlife sound remains at its core, seamlessly blended with Dancehall, Afrobeats, R&B, and more. In a chaotic world, Peace & Love offers not just a celebration of music, but a reminder of the enduring importance of harmony and connection.—Emmanuel Daraloye
47. A Ghetto Love Story (OST) – Basketmouth (Nigeria)
Basketmouth’s latest soundtrack project, A Ghetto Love Story, highlights his evolution from comedian to a producer of music that serves as both an accompaniment to his film of the same name and as a stand-alone album.
While the album explores themes of love, heartbreak, and romance–reflecting the plot of the film–Basketmouth treats audiences to his signature sound–a fusion of Highlife influences, groovy beats, and collaborations with a diverse set of artistes.
This project is arguably Basketmouth’s most potent project yet, benefiting from its strong connection to the film and its focused thematic direction. – Emmanuel ‘Waziri’ Okoro
46. Mbuzi – Young Lunya (Tanzania)
The Rap scene in Tanzania experienced a year of awakening, as Bongo Rap rose, securing its place as a pillar in the cultural foundation of Bongo Flava. At the heart of this surge was the meteoric ascent of Young Lunya.
His album, Mbuzi, marked a striking ascent, leaving a blazing trail that cemented Bongo Rap as a vital force in Africa’s contemporary music.
Young Lunya has emerged as a master weaver of Swahili tales, his storytelling imbued with the weight of personal truths.
In Mbuzi, his narrative skill unfolded with depth and resonance, ensuring the words flowing from his lips were not mere verbatim recounts but phrases that seamlessly wove together the realities of Swahili Land and art in a dance of lyrical brilliance. — Frank Njugi
45. Son of Chike – Chike (Nigeria)
Released in early summer, Chike’s third LP is a return to congenial territory, where he sings about longing, impermanence, self-affirmation and unrequited affection with mellifluous vocals that seek to appeal to his Igbo and English listenerships alike.
Mohbad’s ghost hovers approvingly over “Egwu”, festive wedding videos will undoubtedly feature snippets of “Mma”, and romantic devotion shapes the lyrical narrative of “Apple.” Meanwhile, the poignant “Someone” and the resigned “Your Loss” (featuring an impressive guest appearance by Qing Madi) offer thematic balance.
In these songs, Chike is a troubadour, yearner, scorned lover and wanderer. Son Of Chike struggles to recapture the magic that permeated Boo Of The Booless (2020), and by way of artistry it is unadventurous, but it still makes for a listenable, pleasant album. – J.C
44. Musow Dance – Les Amazones D’Afrique (Mali)
Following the critical triumphs of République Amazone (2017) and Amazones Power (2020)—the latter reimagined in a vibrant remix edition a year later—Les Amazones d’Afrique return with their third offering, Musow Dance, an album that continues their tradition of fusing urgent social commentary with boundary-pushing soundscapes.
Helmed by Malian legends Mamani Keïta, Oumou Sangaré, and Mariam Doumbia, this latest project channels their collective ethos into a stirring, conscious and genre-blurring body of work.
Musow Dance pulsates with a kinetic energy, embracing powerful pop structures built on 808s, glitchy synths, and elements of contemporary Hip-Hop and Trap. This is pan-Africanism filtered through the lens of contemporary Pop brilliance with forward-facing production.
In its urgency and defiance, Musow Dance is a brilliant third installation and reaffirms Les Amazones d’Afrique as one of the continent’s most vital musical voices. — Abioye Damilare
43. Starter – Alikiba (Tanzania)
Alikiba’s first ever EP, Starter, emerged as a project celebrating Bongo Flava’s heritage with seven tracks that mirrored Bongo Flava’s foundational soundscape.
The EP was a masterstroke of craftsmanship, a brushstroke that painted the genre’s origins, and evoked memories of what has always made Bongo Flava tick as East Africa’s soundtrack.
In a genre’s landscape now dominated by the rhythms of Amapiano’s deep house and the pulsating heartbeat of Afrobeats, Starter stood out as an outlier, guiding connoisseurs back to the roots of Bongo.
Through its brilliance, it reaffirmed Alikiba’s crown, ensuring that his title as the ‘King of Bongo Flava’ is not just a relic of the past. Through Starter, Alikiba remained the steadfast guardian of Bongo Flava’s soul, a torchbearer of its music and culture, as he has been for over two decades. — Frank Njugi
42. Maffian – Ayo Maff (Nigeria)
After breaking into the Nigerian music scene via the Fireboy-assisted “Dealer”, Afrobeats rising star Ayo Maff ends the year on a high note with the release of his solo extended play, Maffian.
Fearlessly charting his own course, Ayo Maff enlists the expertise of his longtime producer, Magic Stickz (Young Daddy), and others, reaffirming why sections of the music industry have crowned him Afrobeats’ ‘new prince’.
The tracks on this project trace Ayo Maff’s sonic journey, detailing his struggles with poverty and reflections on a childhood marked by hardship in a ghetto environment. Backup singers are integral to the EP, amplifying the emotional resonance and thematic depth of his storytelling.
Gratitude stands out as a recurring theme, with Ayo Maff paying homage to his ‘day ones’ by mentioning names like Late Ojo and Obinna. With nearly sixteen million streams on Spotify, “Are You There”—a standout track from the EP—has arguably surpassed “Dealer” as Ayo Maff’s defining hit of 2024. – Emmanuel Daraloye
41. Iceberg – Stormy (Morocco)
The Moroccan rapper, known for adroit lyricism and expansive production, released a masterpiece in his usual ‘Darija’ infused dialect (Moroccan Arabic and French).
Known popularly by its lead single, “Popo”, which combines elements of Brazilian funk in production, Iceberg totally rocked the Maghreb region as it combined production and lyrical brilliance in creating a sonic statement for North African Hip-Hop in 2024.
In “Amira”, Stormy tackles pressure amongst the youth, especially in the social media age, as he borrows influences from Moroccan singer, Oum.
A thoroughly refreshing sonic statement, Iceberg sparked global conversations about the dexterity of North African Hip-Hop for the year in review. – MH
40. Loseyi Professor – Seyi Vibez (Nigeria)
In July 2024, Afrobeats sensation, Seyi Vibez, released a seven-track project aptly titled Loseyi Professor. While the title is thought-provoking, the artiste seamlessly lived up to his new moniker, taking listeners on a journey through various emotions and cities around the world.
With the exception of the final track, all the songs on this project are named after popular cities in Europe, the Middle East, or Africa. Beyond the titling, Seyi Vibez subtly reveals his ongoing global voyage to his listeners.
This might be Seyi Vibez’s most personal and sonically cohesive project to date. Beyond bouncing across a myriad of instrumentals, he also explores diverse topics, many of which are deeply personal.
For instance, on the third track, “Casablanca”, he reflects on the pressure he felt when friends began making money through internet fraud—a relatable topic for anyone who grew up in Nigeria between the 2000s and 2010s.
In this album, Seyi Vibez takes the wheel, driving his fans on a trip through his world. By the end of the 17-minute experience, he delivers a brilliant sonic statement that continues to resonate more than five months after its release.—Emmanuel Daraloye
39. No Love In Lagos – Show Dem Camp, Nsikak David, and The Cavemen (Nigeria)
Lagos, the pulsing epicentre of Africa’s cultural imagination, is a city of contradiction—equal parts grit and grandeur. On No Love In Lagos, Show Dem Camp’s Tec and Ghost join forces with The Cavemen and virtuoso guitarist, Nsikak David, to craft a sonic fusion where the stark realities of urban life meet the lush textures of Hip-Hop and Neo-highlife.
Anchored by Spax’s masterful production, the album traverses Lagos’ tumultuous emotional terrain, melding Hip-Hop’s raw cadence with Highlife’s soul-stirring warmth. Tracks like “Johni” and “Fall” exude an effortless buoyancy, while “Blessings”, driven by Moelogo’s haunting Yoruba refrain, mines the intersection of memory and aspiration.
No Love In Lagos is familiar yet resonant—a genre-crossing ode to the experience in Lagos, and by extension a deepening of legacy for Show Dem Camp while reaffirming their status as custodians of timeless, Afrocentric sounds. — Abioye Damilare
38. Clouds – Kemuel (Nigeria)
Kemuel belongs to a wave of emerging Afro-Pop voices known for threading tender narratives through rich, atmospheric production. His project, Clouds, is a seven-track exploration of love’s bittersweet complexities, infused with shimmering, contemporary soundscapes.
Throughout the record, Kemuel navigates the peaks and troughs of intimacy with meticulous songwriting.
On “Water,” he lays bare the sting of heartbreak with piercing lines like “Love is wicked, I know / See we dey water and snow,” delivering a poignant ache that captures love’s disillusionments.
However, Clouds doesn’t limit itself to matters of the heart. The closing track, “Focus,” shifts perspective, chronicling his journey as a Port Harcourt-born artiste determined to defy the odds and carve out his space.
Intentional and deeply personal, Clouds positions Kemuel as a compelling figure among a generation of young artistes poised to revolutionise Afro-Pop. — Abioye Damilare
37. Self-Discovery – Ash (Egypt)
Egyptian-French multidimensional instrumentalist and composer, has consciously and consistently hit the mark with his incisive and Electronic Dance ready tracks. On his debut album, Self-Discovery, he cements his status as one of the most sought Electronic Dance artistes in the world.
On this album, he deftly fuses the sonic traditions of Cairo and Montreal–places that have shaped his sound–making the project as sonically and experimentally diverse.
Tunes like “Settle”, “Haze”, and “Dreams” channel his creativity and understanding of his roots, while “Foundations”, “Moonlight”, “People”, and “Blackout” underscore his reputation as one of the leading figures in African Dance music. – Emmanuel ‘Waziri’ Okoro
36. True to Self – King Promise (Ghana)
On True To Self, King Promise steps into the fullness of his artistry with an album that is as intentional as it is expansive.
Across 12 expertly crafted tracks that draws on a palette that spans Highlife nostalgia, Afro-Pop rhythms, Dancehall grooves, and subtle R&B undertones. Each song is bound by a thematic clarity that mirrors the title’s promise of authenticity.
This is King Promise at his most introspective, channeling personal stories of love and resilience into a soundscape that remains vulnerable. The heart of True To Self lies in its quiet confidence.
A project that doesn’t try to chase trends but instead settles into its own rhythm, offering different shades for different moments.
With this album, King Promise delivers a work that is self-aware and also deeply connected to the roots that ground him. It’s a study in staying true to one’s essence while embracing the possibilities of growth. — Abioye Damilare
35. What We Become – Praise Umali (Malawi)
Malawian mainstream Pop and R&B singer, composer, and songwriter, Praise Umali, has been delivering scintillating singles throughout the course of his career–whether as a former member of the now-defunct Zathu Band, or as a solo artiste.
On What We Become, his sophomore LP as a solo act, Umali wastes no time in proving why he has earned a reputation of being one of best sonic exports of East Africa.
While he treats subjects of the heart across the album’s thirteen tracks, he delicately employs velvety production and collaborates with some of the best features from the region.
Whether it’s dealing with the intricacies of letting go on “For You”; the aspirational “All I Want” featuring Katerinah and Kelvin Sings; the Reggae-infused “Love You More” that explores the fear of deep emotional attachment; or “Yours”, which sheds lights on staying grounded while striving to maintain authenticity and faith, What We Become, is a thoughtful project from even thoughtful artiste. – Emmanuel ‘Waziri’ Okoro
34. Bad Boy Etiquette 102: Continuous Assessment – Ajebo Hustlers (Nigeria)
Ajebo Hustlers’ Bad Boy Etiquette 102: Continuous Assessment is a captivating project that builds on the duo’s rising reputation in Nigeria’s music scene. Hailing from Port Harcourt, the duo—Piego and Knowledge—blend socio-economic commentary with reflections on human experiences across ten tracks.
From the struggles of Nigerian life in “Dreams II” to themes of addiction in “Last Week” and relationship dynamics in “Sweet & Sour” and “Undecided”, the LP delivers a mix of relatable storytelling and cultural depth, enhanced by features from artistes like Zlatan, Blaqbonez, Odumodublvck, and Sarkodie.
The project showcases Ajebo Hustlers’ mastery of melody and gritty lyricism, drawing heavily on Port Harcourt pidgin and local culture. Standout tracks like “Celine Dion” and “Burn My Cable II” highlight their versatility, blending emotional intensity with groovy rhythms.
The duo’s sonic growth since their breakout hit “Barawo” is evident, making this album a testament to their potential and a promising indication of their future in the music industry. – Emmanuel ‘Waziri’ Okoro
33. Full Circle – Annatoria (Zimbabwe)
Annatoria, the ninth winner of The Voice UK, ushered in the year with an EP titled Full Circle. Her soulful voice is showcased against a backdrop of tropical rhythms and beats, inviting listeners to partake in a form of sacred inheritance.
Throughout the project, a question echoes like a distant bell: “Are listeners willing to heed the whispers of their hearts and answer the call of faith?”
Crafted as a meeting of two worlds—London and Zimbabwe—the EP is a product of collaboration, featuring contributions from several producers, including ProdbyCamz (renowned for his work with Burna Boy and Wizkid).
With each note, Annatoria delves into the depths of her spirit, using her music as both a mirror and a lantern, guiding herself through self-discovery. Full Circle is a journey of courage, where Annatoria reveals herself as both traveller and guide, secure in her faith and the power of her voice. — Frank Njugi
32. Bangoza – A Pass (Uganda)
In early 2024, one of Uganda’s brightest musical stars, A-Pass, unveiled Bagonza, a project that dazzled with its boldness and audacity. This 42-track album features songs meticulously crafted, showcasing the artiste’s unparalleled mastery of his craft.
What might have been overwhelmed by its own sheer scale instead emerges as a river of rhythm, where even the most repetitive moments are infused with fresh vitality—a feat that might have faltered in the hands of another artiste.
Bagonza blooms, its beauty rooted in the rich fusion of Afrobeats, melodic Ragga, and Dancehall.
Each note moves like a storyteller, embodying the spirit of Kindandali culture—a musical heritage that A-Pass has not only embraced but elevated, solidifying his status as one of its most celebrated purveyors. — Frank Njugi
31. Ikigai – Olamide (Nigeria)
To remain a defining force in Street-Hop music through every phase of Afrobeats’ evolution over the past two decades is no small feat—yet Olamide has cracked the code. This year, he’s been on a spree, linking up with both established and up-and-coming stars, much like the energy we saw him display in 2016.
His project, Ikigai, is particularly notable, tapping deep into his roots in Street-Hop and Hip-Hop, but with a refreshing twist of Asian production influences threaded throughout.
Tracks like “Hello, Habibi”—later remixed with American rapper, Russ—and “Synchro System” reveal his bold experimentation, assembling former YBNL signee Lil Kesh alongside long-time producers Pheelz and Young Jonn.
In this project, Olamide proves once again that innovation is the backbone of his longevity, taking risks that pay off and cement his place as a true Street-Hop legend. — Abioye Damilare
30. Love/Hate Part 2 – Xenia Manasseh (Kenya)
In the second and final chapter of her Love/Hate series, Xenia Manasseh threaded love and self together where the two dissolved into one another, indistinguishable yet intertwined. Love/Hate part 2 became a mirror to Xeniah’s journey, each song mirroring her footsteps rippling through her world, and reverberated with the hum of her own reflection.
These echoes, shaped by her experiences and relationships, served as guiding lights to her evolving sense of self and artistic spirit.
Much like its predecessor, Love/Hate Part 2 was a bold display of self-awareness, carved in vast, atmospheric landscapes of sound— creative, expansive, and also as well tinged with a sense of defiance. — Frank Njugi
29. Full Time Job – Phyno (Nigeria)
Indigenous Hip-Hop resonates more deeply with Nigerians than the boom-bap rhythms championed by Hip-Hop purists. Phyno has been a leading voice in this space, representing Igbo Rap with an unapologetic energy that has only grown fiercer.
His career has been defined by delivering punchlines and verses in his native tongue with a bold, unrestrained flair. Full Time Job continues that legacy, with Phyno’s Igbo flow remaining as potent and unfiltered as ever.
On this album, Phyno stays rooted in his indigenous sound while venturing into new territory. He joins forces with Flavour on the braggadocious “Men Don Show Face”, a track that exudes confidence and poise.
Other standout moments include collaborations with Fave, Burna Boy, Johnny Drille, and his signee Cheque, whose contribution on “Back Outside” adds an exciting dimension to the album.
With Full Time Job, Phyno once again demonstrates that his distinctive fusion of indigenous storytelling and Afrobeats influences is a formidable force in the music industry. — Abioye Damilare
28. Mon Âme – Lyna Mayhem (Tunisia)
In February and May of this year, Lyna Mahyem unveiled the first and second chapters of her double album, Mon Âme. Spanning 26 tracks, the project delves into the human soul, using Mahyem’s own inner world as a lens to explore the spirit and experiences of others.
The decision to split Mon Âme into two parts was intentional. The first release ventures into darker, more introspective territories, while the second, titled Summer Vibes, embraces light, carefree melodies that capture the essence of the season.
Despite its playful tone, Summer Vibes remains tethered to the album’s overarching theme of soulful exploration.
Through this dual release, Lyna Mahyem has crafted an album that mirrors the ebb and flow of life’s contrasts, presenting a cohesive narrative through two distinct yet harmonious perspectives.— Frank Njugi
27. Fractured Reflections – Kali Mija (Botswana)
Each song on Kali Mija’s EP Fractured Reflections was shaped by the hands of esteemed producers, from Atmos Blaq and C-Moody to Nastic Groove and Kenza. It invited listeners into a new realm within Kali Mija’s musical universe—each track unique in its own way.
With raw intensity and spontaneous beauty, this EP, released under Soul Candi Records, unveiled an artiste unafraid to ground her work in her personal roots. Kali Mija showcased her Botswana-Kenyan heritage in each song, resulting in a delightful sonic experience. — Frank Njugi
26. FULLMOON – Bushali (Rwanda)
Kinyatrap, the soul of Rwanda’s Drill and Trap music, has become one of East Africa’s musical treasures and a jewel in the crown of the region’s sonic landscape. At the heart of this revolution lies Bushali, one of the brightest stars in East Africa’s Hip-Hop.
His 2024 Kinyatrap album, FULLMOON, weaved together the pulsating, Trap-infused beats of the genre with lyrics that echoed good storytelling, delivered in the tongues of Rwanda’s people. In this fusion, Bushali crafted a bridge between the raw energy of modern Hip-Hop and Rwanda’s cultural heritage.
This album might well be the seigneur that kept East Africa firmly etched in the collective memory of Rap conversations, as it cast a glow over this undeniable talent and maybe secured further East Africa’s place in the Rap rhythms of Africa. — Frank Njugi
25. I Am Strong – Onesimus (Malawi)
If there was an artiste whose year shone like a comet, it was Malawian Afrobeat sensation Onesimus. Following the release of his chart-topping anthem, “Controller”, he built on his success, casting a radiant glow that propelled him to the next milestone—the release of his EP, I Am Strong, which further cemented his meteoric rise.
I Am Strong was a journey through the turbulent seas of love, defiance, and the unrelenting search for genuine connections. Each track was a carefully crafted portrait, showcasing Onesimus’s powerful voice and masterful songwriting.
The EP seamlessly fused Afro-Pop, R&B, and the soulful pulse of traditional Malawian rhythms into a melodic blend that embodied the essence of his artistry. — Frank Njugi
24. Water & Garri (OST) – Tiwa Savage (Nigeria)
Tiwa Savage’s Water & Garri is a mosaic of emotions and influences. Borrowing its name from the cassava staple, the project builds on her 2021 EP and doubles as the soundtrack to her feature-length film of the same title.
Here, Tiwa Savage explores the character of Aisha, threading themes of vulnerability, resilience, and love through her unmistakable voice.
Moments like the jazz-highlife fusion of the title track, featuring Richard Bona and The Cavemen feel expansive and rooted all at once. Elsewhere, “Emotions” with Aṣa channels folk traditions into a heart-rending ballad.
By leaning into experimental sounds—Jazz, R&B, and Folk—Tiwa crafts an immersive experience that fills the gaps left by the film’s fragmented narrative, making Water & Garri feel both cinematic and deeply personal. — Abioye Damilare
23. Funeral for Justice – Mdou Moctar (Niger)
Mdou Moctar, the four-man Nigerien band, is one of the few African rock acts pushing boundaries in ways that truly redefine what rock can mean. Their album, Funeral For Justice, is a raw, powerful statement—a blistering fusion of heavy riffs, shredding solos, and heavy-handed power chords that pack a punch.
From the opening titular track, “Funeral For Justice”, where Moctar’s guitar dances over a rising tide of feedback, to the anthemic “Imouhar”, the band flexes with ferocity, moving through distorted landscapes and charging rhythms.
With tracks like “Oh France”, the album delivers a blistering critique of colonial violence. Funeral For Justice is both a call to arms and a soulful plea for change, fierce and unapologetic, firing on all electric guitars until the last note. — Abioye Damilare
22. Adedamola – Fireboy DML (Nigeria)
Fireboy DML’s pen has always been at its sharpest in the realms of love, weaving poignant narratives that explore heartache, yearning, and the exhilarating highs of romance.
His third album, Playboy, marked an experimental shift, trading the tender sincerity of his earlier work for a more devil-may-care, hedonistic persona that didn’t quite resonate with listeners.
The muted reception to that project raised questions about whether he had veered too far from the magic that once defined him.
With Adedamola, Fireboy silences those doubts resoundingly. His fourth album feels like a return to form, while also marking a bold evolution. Rooted in folk sensibilities, tracks like the opening “Iseoluwa” and “Back and Forth”, featuring luminary, Lagbaja, anchor the project in rich tradition.
At the same time, Western Pop influences shimmer in the soul-stirring tones of “Ready” and “Jon’s Interlude”. This is Fireboy embracing new sonic textures while preserving the emotional depth and storytelling finesse that continue to set him apart. — Abioye Damilare
21. For the Streets Vol 2 – Zeze Kingston & Leunas (Malawi)
Zeze Kington, the Malawian Afropiano maestro, released the third chapter of his mixtape series, For the Streets, a project that resonated with the pulse of Southeastern Africa. Titled For the Streets 2 and featuring the sonic magic of Leumas, this seven-track album was a symphony of brilliance.
With every beat, the music brought life to the soul of the ‘streets’, echoing the enduring rhythm of Zeze and Leumas’ roots, as they crafted a journey that immersed the listener in a world of both authenticity and artistry. — Frank Njugi
21. Confuse the Enemy (Reloaded) – Nasty C & Lekaa Beats (South Africa & Nigeria)
Nasty C joined forces with Nigerian producer, Lekaa Beats, to create Confuse The Enemy (Reloaded), a bold exploration that saw him step into uncharted waters, as he challenged his musical boundaries with sounds that strayed far from his usual signature.
The album was a reinvention, in which Nasty C adopted a new sonic trajectory, revealing the fresh innovation he’s embraced over time.
This release echoed the dynamism of African Hip-Hop, and was a vibrant force that mirrored the still relevant strength of South African Rap, and also how it is firmly woven in the fabric of the continent’s larger musical legacy. — Frank Njugi
19. Lungu Boy – Asake (Nigeria)
After scaling Afro-Pop’s lofty peaks with two game-changing albums, Asake silenced doubters about his ability to steer the genre into uncharted territory. Yet, murmurs persisted that perhaps his signature blend of crowd vocals, Fuji cadences, and Amapiano grooves were too fixed to evolve.
With Lungu Boy, his third album, Asake shatters those assumptions. Here, he trades the tried-and-true for an adventurous dive into electronic textures, weaving Fuji’s soulful grit with the pulsating energy of EDM.
Tracks like “Uhh Yeahh” sparkle with this inventive synergy, while the high-octane “Active”, featuring Travis Scott, delivers a party anthem brimming with slick, genre-defying ambition. — Abioye Damilare
18. The Year I Turned 21 – Ayra Starr (Nigeria)
Ayra Starr’s The Year I Turned 21 is a sonic diary and memoir, capturing the exhilarating highs and tender lows of coming of age of a young star navigating fame, love, and self-discovery.
Building on the audacious blueprint of her debut album, 19 & Dangerous, this album expands her artistic palette, coalescing Afro-Pop and R&B with flourishes of Latin Pop and Highlife into a fusion that feels both familiar and refreshingly adventurous.
With production from heavyweights like LONDON, P2J, and P-Prime, the project provides a fitting backdrop for Ayra Starr’s striking vocals.
From soaring melodies on “Woman Commando” featuring Anitta & Coco Jones to intimate confessions on “Lagos Love Story”, she crafts a rich, immersive experience that solidifies her evolution as a defining voice in contemporary Afro-Pop. — Abioye Damilare
17. Purple Doesn’t Exist – A-Q (Nigeria)
This year’s most captivating spark in terms of African Hip-Hop emerged from the Nigerian wordsmith, Gilbert Bani, better known as A-Q.
A poetic alchemist, A-Q blended the precision of a master craftsman, with the instinct of an actor-playwright, bringing a cinematic touch to his music and an auteur’s grip on his creative identity.
In August, he released Purple Doesn’t Exist, an album whose songs unfolded like a series of timeless epics, with each of its tracks standing as a monument of lyrical brilliance.
Purple Doesn’t Exist wasn’t just an album, it was a canvas of auditory mastery, painted with A-Q’s signature skill—precision in delivery.
But beyond the technical prowess, the project also breathed with an inventive spirit, as A-Q wielded the title and theme like a philosopher, drawing from the scientific truth that purple, as a color, doesn’t truly exist because no pure light is ever purple.
Through this metaphor, he crafted a journey that not only challenged the boundaries of Rap but asserted his presence as a titan in the continent’s Rap landscape—an emcee whose genius and vision are undeniable forces that will shape those who come after. — Frank Njugi
16. By Any Minz – Minz (Nigeria)
Minz’s full-length debut album, By Any Minz, is the culmination of the grit, resilience, and innovation that the Surulere-born superstar has demonstrated since his 2016 SoundCloud era. The emPawa signee has been making music for over a decade, but it wasn’t until he released “wo wo” in 2022 that his craft truly caught the attention of a wider audience.
The first sign that this year would be different for the 30-year-old was his spotlight-stealing performance on Leather Park & Odunsi The Engine’s “Crown Bounce”, and that momentum is carried forward in a 42-minute LP featuring appearances from Davido, Tekno, Bnxn, Projexx, and Moliy.
Not since Omah Lay’s Get Layd (2020) has a body of work so effortlessly explored themes like hedonism, masculinity, and millennial aspirations while deploying Afro-fusion to euphonious effect.
Minz exudes the confidence of a lothario as he promises cunnilingus to a love interest on “f.u.”, croons with the assuredness of a veteran while boasting about virility on the Blaqbonez-assisted “do”, and embodies the archetypal alpha-male urban Lagos dweller on the percussion-driven “disembark”.
For those who have supported him since he set up a studio in his bedroom at 22, Minz rewards them with a delightful listening experience. – J.C
15. Hit Factory – Sam Deep (South Africa)
Sam Deep is a masterful architect of sound, crafting sonic landscapes that push the boundaries of Amapiano music. This year, he unveiled Hit Factory, a musical treasure chest that fans and Amapiano genre enthusiasts eagerly embraced, as it invited them to sink into its rhythms like a feast for the senses.
With 12 tracks that pulse with innovation, Hit Factory was a seismic shift in the Amapiano world that solidified Sam Deep’s place as a pioneering force, and his legacy now etched in the core of the South African music genre. — Frank Njugi
14. Homeless – Llona (Nigeria)
In a nation where 4% of its citizens struggle with depression, it’s understandable why large sections of the Nigerian population would consume music that offers escapism.
However, it is curious to note that mental health is not extensively discussed in the albums churned out by the country’s mainstream acts, with M.I Abaga’s A Study On Self-Worth: Yxng Dxnzl (2018) and Omah Lay’s Boy Alone (2022) being two notable exceptions.
Llona makes a passionate contribution to the conversation, needing just over 32 minutes to make a bold statement. His album, Homeless, tackles themes such as loss, insecurity, drug addiction, violence, mental illness, and zeitgeistic disillusionment with a vulnerability that is both refreshing and astounding.
The palpable emotions that pervade tracks like the apprehensive “Still Scared,” the anguished “Can’t Breathe”, the rueful “Stranger”, and the desolate “Comforter” make for a project that has quickly become one of the year’s most impressive releases.
Amid riveting lyricism and plaintive vocals, the Kogi-born artiste’s debut is as unsettling as it is beautiful. – J.C.
13. Madam Dearest Pt. 1 – DOTTi the Deity – (Nigeria)
DOTTi the Deity, widely recognised for his 2022 hit single, “Forever Sweet”, has built a dedicated following, dating back to his appearance on Y’ello Music Star in 2020. His sonic journey culminates with his debut LP, Madam Dearest Pt. 1, which sees him exploring the realms of Yoruba-Folk music, Highlife, Soul, and Afrobeat.
DOTTi the Deity sonically weaves a love story throughout the album, capturing both the playful and heartfelt moments of a burgeoning relationship. Songs like “Be My Darling”, “Big Shirt & Boxers” and “Balablu” showcases his ability to meld various sonic styles and a testament to his prowess. Madam Dearest Pt 1 is a strong LP that showcases his potential and confidently positions him for a promising future. – Emmanuel ‘Waziri’ Okoro
12. Bamako* Chicago Sound System – Nicole Mitchell & Ballaké Sissoko (Mali)
Malian Kora maestro, Ballaké Sissoko, teamed up with American flutist, Nicole Mitchell and her Black Earth Ensemble in this intercultural mix, with accompanying vocals from Mankwe Ndosi and Fatim Kouyate, blending with Fassery Diabaté’s expertise on the balafon.
This project, presented in English and Bambara, conceived about a decade ago finally came to life in 2024, espousing strong Afrocentric themes, amidst jazzy influences.
Bamako*Chicago Sound System’s resounding theme is the return to Africa, using cities like Bamako and stories about folk heroes as pointers to African nostalgia. Tracks like ‘This Moment’ provide a griot-like experience where Mitchell’s flute gives life to Ndosi and Kouyate’s infectious vocals in an ensemble.
This intercultural mashup is a testament to Ballako’s undeniable legacy in promoting rudimentary traditional African music, especially with the Kora. – MH
11. HEIS – Rema (Nigeria)
For many recording artistes navigating a fledgling career, the safe choice after scoring a global smash hit and performing at some of the world’s biggest venues would be to maintain the winning formula and stick to the variant of Pop music that brought commercial success.
Rema, evidently, is not one of those artistes.
The 24-year-old’s sophomore effort is an audacious attempt to reset a sonic landscape that was reeling from Amapiano-induced fatigue. By career trajectory, an album of this nature seems to be a curious move, yet its rambunctiousness is undeniably alluring.
HEIS is not necessarily a glorious second outing for the “Calm Down” superstar—the LP is experimental at best and scatterbrained at worst—but there are still moments of unassailable quality, exemplified by the braggadocio of “March Am”, the verve of “Azaman”, the frenetic basslines of “Ozeba”, the high-octane rhythm of “Villain”, and the introspection in “Now I Know”.
These moments have clearly been acknowledged by certain observers, as HEIS, for all its polarising effect, has earned a Grammy nomination for ‘Best Global Music Album’. – J.C
10. Teboho – Bandros (South Africa)
Afro-Jazz has not had it this great in years, as the South African DJ Bandros compiles, with deft production and sonic brilliance, a potpourri of varied tempo-laden sounds, with Amapiano underlays, resulting in a sonically cohesive project.
A tribute to his late brother, Teboho–this 14-track offering–blends samples and originals into a seamless listen, with stellar engineering and production.
A fitting addition to the ever-expanding dance genre, Teboho boasts collaborations and influences from Kelvin Momo, Stixx, Markell Music, and others. – Max-Harry
9. Tidet – Amaka Jaji (Libya)
Raised by his father, a Sufi sheikh, Jaji’s religious foundation is evident in the spiritual and cultural voyage that Tidet represents.
Buoyed by his Tunisian and Libyan roots, Jaji blends Sufi and Tuareg influences into a pleasant assemblage, offering a modern twist on desert music.
He does not neglect Sudanese sonic and cultural inspiration, which, mixed with touches of Hip-Hop, synths, and 808s, creates an album that is an ode to powerful nostalgic sentiments.
In tracks like “Allama”, Jaji reminisces on times with his late grandmother, while in “Taranin”, he sings in his native Tuareg tongue.
With this project, Amaka Jaji proves that Tuareg and Sufi sounds, reimagined with contemporary twists, have their place in global musical conversations and can compete at the highest levels of sonic ingenuity. – MH
8. Lustropolis – Odeal (Nigeria)
Odeal has, over the years, showed a unique mastery of the Alté soundscape while injecting his trademark mellow sound. On Lustropolis, the singer, songwriter, and composer, introduces listeners into his most raw and personal project yet.
Throughout the project’s seven tracks, Odeal dispatches a melancholic approach to heartbreak and all the unique moments that led to it. The project’s opener, “Can’t Stay” sees him ending the relationship, and slowly circling back through a haze of pain, confusion, and self-reflection.
Tracks like “Modern Day Suicide” and “Temptress” capture the emotional turmoil of a love that is both irresistible and toxic, while “You’re Stuck” featuring Summer Walker offers a duet that balances the tension between holding on and letting go.
“Showbiz” exposes the loneliness fame can’t fill, and “HBTS” sees Odeal expressing regret and longing for reconciliation. Lustropolis is proof that Odeal is in his best form and has the ability to delicately treat emotional themes with depth. – Emmanuel ‘Waziri’ Okoro
7. Morayo – Wizkid (Nigeria)
Uneasy lies the head that wears the crown, and for a man who has been held out as Nigeria’s biggest musical export of his generation, the odds were stacked against Wizkid. Lukewarm reception to his last two projects, alongside publicised feuds with industry colleagues and uncharacteristic social media tirades, had created a more than a few chinks in the king’s armour.
However, it was the death of his mother in August 2023 that caused the “Ojuelegba” superstar to spiral. Grief often leads to recalibration, and it was in grappling with personal loss that the 34-year-old recorded his sixth studio album, with his departed mother serving as the muse for his work.
Wizkid approaches Morayo as though he has a lot to prove, enunciating his lyrics with rich vocal flourishes as if his legacy were on the line – and maybe it was. At a listening time of 44 minutes, Morayo is his most Afrobeats-leaning project since Ayo (released ten years earlier).
Tracks like “Karamo”, “Kese”, and “Soji” evoke the magic that made him a global star with his 2011 debut. His supporting cast shines on the ballads, with Brent Faiyaz doing the heavy lifting on “Piece of My Heart”, Jazmine Sullivan belting out a beauty on “Bad For You”, and Anaïs Cardot delivering a show-stealing performance on “Slow”.
Morayo triumphs in delivering several pockets of melodic magic—take the transition from “Bend” into “A Million Blessings”—and a seamless blend of genres. Juju, Hip-Hop, UK garage, Afro-Pop, and Fuji all find harmony within these records.
Where the album struggles with thematic cohesion, it compensates with crisp production and musical arrangement, with P2J (who produces all but two tracks) steering the ship towards rhythmic bliss.
Cynics might argue that the album lacks introspection, but they clearly missed the undercurrent of melancholy woven into songs like “Troubled Mind”, “Lose”, and “Pray”. In any case, there are many ways to process grief, and one of them is to be immersed in revelry. – J.C
6. Ntsako – Kelvin Momo (South Africa)
In an eventful year that saw South African jazz/Amapiano virtuoso, Kelvin Momo, release the critically acclaimed Jazz Cruise Series Vol 1 and Sewe, the mastermind behind Private Piano School closes the year with a surprise fan favourite, Ntsako.
Despite the sheer quality and quantity of his output this year, Ntsako manages to raise the bar even higher, with Kelvin being deliberate in collaborating with emerging stars to craft this 24-track tour de force.
The Soweto-born DJ leaves listeners undoubtedly hooked by the assortment of sounds and instruments that South African dance music incorporates to create its soothing, soulful melodies. Ntsako serves as a fitting conclusion to a remarkable year in Southern African music. – Max-Harry
5. Stubborn – Victony (Nigeria)
Victony’s debut album, Stubborn, is a statement art to his resilience and determination, shaped from his unique iconic journey from a Rap artiste to an Afro-Pop maestro. The album chronicles his rise to fame, marked by challenges such as a life-altering car accident in 2021.
With standout tracks like “Everything”, “Pier 46”, “Risk”, and “Tiny Apartment” featuring SAINt JHN, Stubborn blends Afro-Pop with introspective lyricism, exploring themes of love, perseverance, and personal growth. Highlights include collaborations with artistes like Asake and Teezo Touchdown, as well as strong production from Kzito.
The album’s cohesive sound and Victony’s emotional depth position him as a new-generation superstar. – Emmanuel ‘Waziri’ Okoro
4. We Cut Keys 2 – Blinky Bill (Kenya)
In early 2024, Blinky Bill, the visionary pulse behind the legendary Kenyan Band, Just A Band, re-emerged with We Cut Keys 2, an album that reclaimed his place among East Africa’s finest musical architects.
Across 16 tracks, he dared to journey and push past the borders of conventional sound to create something bold and untamed. We Cut Keys 2 was like a sonic kaleidoscope, in which Pop, Electronica, House, and Hip-Hop collided and merged, shaping a genre-defying masterpiece that is both fearless and refined.
This album was not merely music— but was a declaration as well. A call to position Kenya and the broader East Africa as the next beating heart of the African music renaissance.
We Cut Keys 2 was a dawn on the horizon of an East African sound, the album a transformative force that may one day be remembered as the cornerstone of the region’s musical evolution. Throughout its tracks, Blinky Bill gave hints of East Africa being the next frontier in African music — Frank Njugi
3. Tyla+ – Tyla (South Africa)
Since her breakout hit “Water”, which earned her the first-ever Grammy Award for ‘Best African Performance’, Tyla has continued her unwavering rise to global stardom. Her eponymous debut album, Tyla+, is a fusion of Afrobeats, Amapiano, R&B, and Pop.
With contributions from seasoned songwriters like Ari PenSmith and production by talents such as Sammy Soso, Tyla+ has cemented the superstar’s place in the spotlight, making her an undeniable reference point for young African female Pop artistes.
While the album has faced criticisms of being overly engineered, Tyla+ still manages to encapsulate the African groove in a vibrant Pop/R&B context, with visuals that pay homage to 2000s aesthetics.
At its core, Tyla+ symbolises Africa’s firm presence on the global Pop stage, leading with its ever-infectious rhythm. – MH
2. Pink Magnolia (Deluxe) – Anaïs Cardot (Gabon)
Multilingual French-Gabonese R&B/Soul singer, Anaïs Cardot, has intentionally carved a niche with her sultry, haunting, and often acoustic ballads that instantly tug at the heartstrings. Featured in Afrocritik’s weekly listicles, Anaïs had a standout year, contributing to Asake’s Lungu Boy and Wizkid’s Morayo.
With Pink Magnolia (Deluxe), Anaïs proves that language is no barrier to sonic expression. Singing in English, French, Spanish, Portuguese, and Pidgin English, she delivers a poignant statement through her music.
Her ability to navigate the diverse, intimate emotions of love, heartbreak, and romantic longing, paired with laid-back, refined instrumentation, creates a sensual atmosphere that perfectly complements her voice.
Pink Magnolia stands out as one of the most dexterous releases from the continent this year, showcasing Anaïs’s incredible sonic brilliance. – Max-Harry
1. Born in the Wild – Tems (Nigeria)
A haven for music theorists, Born in the Wild is the perfect fusion of ‘90s and 2000s R&B/Soul imprints, enhanced by masterful engineering, production, and vocal finesse.
Nigerian Alternative/R&B crooner, Tems, who first captivated audiences with songs like “Mr Rebel” and “Try Me”, left fans and music enthusiasts eagerly awaiting her full-scale debut LP.
Following the release of hit singles like “Me & U” and “Love Me Jeje”, Born in the Wild arrived, making an emphatic statement of intent and identity, solidifying her already impressive career.
Influenced by soul and R&B heavyweights, Born in the Wild draws from Lionel Richie’s “Forever”—which pulses through her track, “Forever”—Sade Adu’s signature sound in “You in My Face” and “Ready”, and Janet Jackson’s “Got It ‘Til It’s Gone” in “Burning”.
“Boy O Boy” echoes the tempo of H.E.R. and Daniel Caesar’s “Best Part”, though it reverses the theme. Diana King’s 1997 hit, “L-L-Lie” is reimagined in “Gangsta”.
Tems seamlessly incorporates these influences, while maintaining her authenticity and lyrical prowess, especially in crafting a personal story throughout her debut. She also integrates her African roots, reimagining Seyi Sodimu’s “Love Me Jeje” and sampling Magic System’s “1er Gaou” in “Wickedest”.
Hip-Hop influences in “T-Unit” and the dancehall vibe of “Turn Me Up” showcase her versatility. Her mastery of delivering a distinctively engineered project, layered with lush vocal stacking, fades, and impressive production, is on full display.
With its sonic brilliance, Born in the Wild stands as one of the continent’s top releases of the year, marking Tems as an artiste poised for a luminous career ahead. – MH
Honourable mentions:
- Super Live Music – Fally Ipupa (DR Congo)
- Rebel Queen – Yemi Alade (Nigeria)
- Up & Runnin6 – StoneBwoy (Ghana)
- RnB – Bnxn & Ruger (Nigeria)
- Leather Park Vol. 1 – Odunsi (The Engine) (Nigeria)
- Recess – Joshua Baraka (Uganda)
- Timilehin 2.0 – TML Vibez (Nigeria)
- J’ai Menti – Damso (DR Congo)
Jerry Chiemeke is a writer, music journalist, film critic and lawyer. His works have appeared in The Africa Report, Berlinale, The Republic, Africine, Netng and The Lagos Review, among others. He lives in London, from where he writes on Nollywood, African literature, and Nigerian music.
Frank Njugi is a Kenyan Writer, Culture journalist and Critic who has written on the East African and African culture scene for platforms such as Debunk Media, Republic Journal, Sinema Focus, Culture Africa, Drummr Africa, The Elephant, Wakilisha Africa, The Moveee, Africa in Dialogue, Afrocritik and others. He tweets as @franknjugi.
Listed twice by “Black Pride Magazine” as one of the top 5 Music Journalists in Nigeria, Emmanuel Daraloye has over 600 album reviews in his archive.
Abioye Damilare is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle
Emmanuel ‘Waziri’ Okoro is a content writer and journalist with an insatiable knack for music and pop culture. When he’s not writing, you will find him arguing why Arsenal FC is the best football club in the multiverse. Connect with him on X, Instagram, and Threads: @BughiLorde